Plot: What’s it about?
A young priest (Claude Laydu) has been given his first parish, a chance to shepherd a flock of his own. This is a chance to establish himself and spread his faith, as well as help the local people with their troubles. A chance to do good by people, his religion, and himself, the kind of chance we’d all like to be given. The priest ventures to Ambricourt, a rural village that could hold endless promise, or limitless trials and tribulations. As soon as he arrives, the priest senses a discord with those who attend his services. His congregation is hostile and has little faith, as if church were attended out of habit, rather than choice. The priest’s innocent, genuine motives are lost on his people, which sends him into a depression. This rejection of him as a person and priest hits him like a ton of bricks, causing him to draw back and become more isolated. At the same time, the priest battles a stomach ailment that limits his intake to wine soaked breads. This causes him even more problems, as rumors of his alcohol ingesting begin to spread. A glimmer of hope is found with a young woman, whom he feels can be a teacher for the youths, but even that proves to be an illusion. A nearby priest tries to assist him, but his advice doesn’t sit well with the troubled man. As he battles for his life, his congregation, and his very soul, will the priest find any comfort?
I have seen countless films that deal with faith and religion, but perhaps none have done so with as much skill as this picture. Diary of a Country Priest is a realistic, grounded look at one man’s faith and how it is tested. Robert Bresson (Trial of Joan of Arc, A Gentle Woman) directs the movie to perfection, with no miracles or even signs from above, just a cold, real world. That might sound strange, a movie about faith without some kind of supernatural slant, but the focus on faith keeps the theme universal and ensures the tone remains serious. The result is slow at times and has no real spark, but the emotion is genuine and the impact is severe. The film starts off on a hard and dark note, then builds a wall out of life’s harsh moments. In other words, Diary of a Country Priest is not a traditional drama and can be hard to watch. The sense of isolation and rejection is deep and intense, the kind of movie that stays with you. Bresson could have cut corners and inserted some brighter scenes, but the emotional depth would have been lost. Even as the suffering doubles and doubles again, faith continues to be an outlet. That is a premise that all religions can agree on, so Bresson’s direction here is letter perfect. This is a must see picture for film buffs, while casual viewers might be thrown off by the cold, dark tone. Criterion’s disc is top notch, so if you’re interested, don’t hesitate to purchase Diary of a Country Priest.
Video: How does it look?
Diary of a Country Priest is presented in full frame, as intended. This is a brand new visual treatment and as per usual, Criterion has returned to the source elements and done some digital restoration work. So instead of worn, soft visuals as seen in previous editions, this treatment offers a clean, impressive image. The print has some minor nicks and scratches, but looks ten times better than any other version I’ve seen. I was pleased to find softness is minimal, which allows the visuals to come through as intended. I found contrast to be even and well replicated, so black levels are crisp and the image never suffers. Another superb presentation from Criterion, one which blows all other editions out of the water.
Audio: How does it sound?
The original French soundtrack has been preserved, in a newly restored mono option, which sounds quite good. A very clean mono track is present, which provides a solid experience and shows little in terms of age problems. I heard some harshness here and there, but in the end, this is an acceptable audio presentation. The vocals come off in fine form, with only slight problems at times and the sound effects are crisp also. This film doesn’t use sound effects for impact much though, so don’t expect a powerhouse mix, even by mono standards. I am very pleased with this track and I am glad Criterion used the original mono, as opposed to a remixed surround track, like other studios sometimes do. In case you don’t remember much from French class in high school, this release also includes optional English subtitles.
Supplements: What are the extras?
An audio commentary with film historian Peter Cowie is up first, a session armed to the teeth with insight. Cowie knows so much about Bresson, the cast, and the production, he could have probably provide three tracks for this release. He discusses the casting choices, Bresson’s style and career on the whole, as well as anecdotes about the film’s production. I cannot recommend this track enough, as Cowie supplies a wealth of worthwhile information. This disc also includes the film’s theatrical trailer.
